Tuesday 7 October 2014

Awaiting Yuki Okumura's Arrival on Thursday

Thursday evening these two Yuki Okumura pieces will be installed:

Black and white poster featuring practical info and curatorial statement written in English by Leif Holmstrand about his curated exhibition Translation Theme Park, re-typed by himself using Kotoeri, the Mac OS X standard Japanese input method, with his Swedish keyboard

Jun Yang: A Short Lecture on Forgetting and Remembering
HD video '27"39
Made in collaboration with Jun Yang, Noriko Kobayashi, Hikaru Fujii, and Yu Araki

And here is Yuki Okumra's artist statement as presented on his website:

Each of us lives in a different world. Fundamentally speaking, your world consists only of your direct perceptions and personal experiences. In this solipsistic view, areas that are invisible and intangible for you, such as other people's minds and your own anatomy, hold a "black box" nature, so to speak. From your perspective, those domains contain different, conflicting situations at once, just like the quantum superposition of life and death of Schroedinger's cat, as you can never directly observe what is inside.

However, this superposition, as well as the principle of our parallel realities, are usually repressed by language, because otherwise our society would not function properly. We are linguistically generalized as human beings, particularly in terms of our interiority, both mentally and physically: Each of us is supposed to have a single and consistent mind (not plural or fragmented), and a certain anatomical structure. The former is systemized primarily by the use of "I," the term everyone equally has the right to use to refer to themselves, thus claiming no one is special, so that a common intersubjective world outside us, which is called society, is in need. The latter is defined by anatomical science, which articulates the internal system of human body by distinguishing organs with words.

In order to slip through such a confinement, to seize back the superposition, the invisible closed room, or the black box, and to fully explore its potential, my work takes "translation" or "interpretation" as a means to come and go between self and others, here and there, and now and then.

Most recently, my work started to take the form of "reinterpretation" of other artists, both contemporary and historical, extracting and expanding a certain element of their work or practice to develop a new form or make up a parallel history.

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